David Baay

My guess would be this is a case of not paying close attention to which track/bus is focused (name highlighted) vs. Selected (number.letter highlighted. They can be one and the same, but its working as designed that the focus can be moved away from a selected track/bus, and the focused track/bus is the one whose Prochannel will appear in the Inspector. I'll wager we have all made this mistake at one time or another. I have not seen Prochannel 'activation' issues like this since it was first introduced when there were some reproducible anomalies that needed to be fixed. If it's truly a bug, the Bakers will need a reproducible recipe, including a copy of the offending project if it's project-specific, in order to fix it.

The grass is always greener over the skeptic tank.

I have a Roland D-110 (two, actually) c. 1988. that I could sample for you. I'm pretty sure the sound would be comparably thin and uninspiring. ;^) But, seriously, it was mentioned that Roland makes the virtual Sound Canvas VA plugin available as part of it's subscription service for virtual versions of its hardware synths. But it's also still available for direct purchase with a lifetime key from the usual online music stores for $69. Its demos can be heard here, starting with acoustic piano:

Always glad to help. Sounds like a worthy project.

Yes, OP should modify the workspace or choose one that shows the Mix Module. Or, my personal prefernce, set Workspace to "None'.

I would tend to agree with this. I could see losing context for counterpoint or swing due to attenuation of a some rhythmic element(s) at a distance changing your perception of 'groove' to some extent, but I can't say I've ever encountered something sounding really 'off' like that. But it might be more likely if you don't have strong enough dynamics in the rhythmic elements to really define the groove well at lows levels or in imperfect listening conditions. Best thing would be to post it here or on the Songs forum to let us hear for ourselves.

Yes, I understand the implementation is very similar to track envelopes and that they can be converted back and forth. I just hadn't used them enough recently to remember that. And articulations are so closely tied to the phrasing of note start times and durations that it would have been logical for them to be part of the clip a la clip envelopes.

I've had my Selection module set to Medium for so long I forgot there were selection options in the Large module. All the options are on by default so the impression you get when you copy-paste a clip is that articulations are inherently part of the clip. To the OP's original post, it is a bit counter-intuitive that if articulations are triggered by keyswitches in the MIDI clip, they will be duplicated by clip-looping, but not if they're triggered by articulation maps.

That control is specific to the Arpeggiator section; if you hover over it, you'll see the tooltip says: "Arp Process MIDI Channel(s)". Yes that's the relevant control - the output channel from the MIDI part of the Instrument track to the Kontakt instance in the Synth Rack that it's associated with. I forgot it's accessible from the Track Pane which is why I suggested going to the MIDI tab of the Inspector. Either way is fine. Since Kontakt is multi-timbral synth, it's good to get in the habit of setting the appropriate output channel in the track even if you're only using a single instrument initially. If you had recorded MIDI from a keyboard, it would likely have been sending events with channel 1 embedde din them so this would not hav ebeen necessary. But sincce the MIDI were from a multi-tack file each track has a different channel embedded in the MIDI events. I call the track setting "forced" output channel because it automatically and non-destructively re-writes the channel of events (i.e. Note On/Off messages, Controllers, etc) to the specified channel on the fly as opposed to changing the channel of the events themselves. The basic concept to understand is that a MIDI channel is not like an audio channel that has a dedicated wire or "pipeline" for the data to follow. With MIDI, all the messages are traveling on the same wire, in single file, and the channel is a parameter of each individual MIDI message. Assigning a channel to an instrument in the synth (or vice versa, depending on how a particular synth UI is set up) tells the instrument to only respond to messages with the matching channel parameter.

Copy/Cut-Paste is lane aware. A copy from one track will go to the corresponding lane of the target track by default unless you specify otherwise by showing lanes and focusing a different lane. If the corresponding lane doesn't exist in the target track. I think it should create a new lane, but I haven't verified that, and I have occasionally seen unexpected results with lane awareness, and CbB will sometimes stack clips in layers in the same lane which it shouldn't generally do. I generally do all inter-track copy-pasting in the track view - with lanes open if necessary - and by drag and drop if there's any question about where things or going to go.

While you're at it, maybe you could make the highlight in the tempo list follow the Now Time. during playback as it did in the old Tempo View.

Is it that you're having trouble with fine adjustment, or something else? When you hover over the red line, you should get a double-ended arrow indicating you can click and drag, and the offset time will be showing in the lower right corer of the sample display. It should default to 0 milliseconds. Adjustment with the mouse is admittedly pretty coarse and holding SHIFT dos not give fine control as it does elsewhere. I am able to get it back to 0.0 when dragged away, but I can't hit anything else between -1.8ms and +2.6ms. And there does not appear to be any other method of adjusting it or entering a value.

This. The MIDI events are on channel 4 (see the Event Inspector or Event list), and the Kontakt instrument is set to channel 1. For a Simple Instrument track you need to go to the MIDI tab in the Track Inspector to access the forced output Channel widget, and set it to 1. Or change the Kontakt instrument to channel 4. Or use the Event Inspector to change the channel of the note events (does not change controllers, but that's not a problem in this case).

EDIT: Incidentally, I have reported many times over the years that setting a MIDI clip's Timebase to Absolute should lock its absolute duration as well as its start time. Contrary to the Ref. Guide (last time I looked), it currently only locks the start time.

Hmmm... yes, I can imagine that might happen at certain tempos based on other cases I've encountered of MIDI events being unexpectedly suppressed by 'mis-aligned' clip boundaries . This should be reported to the Bakers. Can you share a portion of the project file that demonstrates the problem? Or myabe just give a specific example of an event at time xxx:xx:xxx that doesn't get played after changing the tempo by this method.

See the solution I gave two threads down in this forum: - Set the Now time at Measure = current tempo +1 (191). - Shift+M t to open Set Measure/Beat At Now. - Enter target tempo +1 (96) for Measure, Beat 1 and OK. - CbB will change the initial tempo around existing MIDI (and audio of present) without altering its absolute playback timing

Can't say I've ever encountered that, and can't repro now. Does it persist after restarting CbB and/or rebooting? If so, are there a lot of controllers/articulations or other special content in the track(s)?

What I'm seeing is that articulations copy/paste as expected when whole clips are selected, but not when only part of a clip is selected in either the TV or PRV. I agree it would be expected that articulations are duplicated by both Groove Clip Looping and copy-pasting partial selections.

Late to the party. I just happened to stumble on this while searching for something else. FWIW, I have written CALs where the modification of an event depends on some parameter of the one before it - or vice versa. Like billp, I have just had to save the the parameter(s) of the one event for use in processing the preceding/following event on the next iteration of the loop. I don't fully understand the issue you have with the order of notes in a chord, but it sounds like you would just need to check for simultaneity of start times (maybe within some user-specified number of ticks if chords aren't hard-quantized) and save the necessary paremeters of several events in a row to be used on the next pass. Bottom line, there is no way to store the infromation in an array. You have to create a sort of facsimile of an array using indexed variables like lastChord1, lastChord2, lastChord3 , etc.

FWIW, on my Dell laptop, the main cause of DPC latency spikes is ACPI.SYS which is involved in power management and, as such, is highly "active" in a laptop - even when it's plugged in - as compared to an AC-only desktop. I have not had any such problems with my Dell desktops. I researched and tried a lot of tweaks to address it, but only succeeded in creating other problems like the laptop failing to sleep/hibernate when it should and running its battery flat overnight. Since the laptop is not my main DAW, and doesn't need to deliver the lowest possible latency for input monitoring, it's not really a big deal for me. I do get the odd crackle once in a while, but actual engine-stopping dropouts are rare. EDIT: Looking back through my notes, I see that I have had spikes from Wdf01000.sys, and putting the laptop in Airplane Mode seemed to eliminate it at the time.

Dupe

Sure. First, understand that having 100.75 beats pass in the time of 75 is the same as having 100.75 measures pass in the time of 75, and it's just easier not to have to convert measures and beats to total beats. Then all you're doing is telling CbB "I want 100.75 measures (100 measures and 3 beats in 4/4 time) to pass in the absolute time that's currently at 75 measures from the start". But measures are counted from 1, not zero, so you need to set the Now cursor at 76:01, and tell CbB to adjust the initial tempo to make measure 101, beat 3 hit that absolute Now time (i.e. 3 minutes, 56.8 seconds).

After you Write the preset to the User bank, click the instrument name again and choose Save Bank. Save the .GMN file with an appropriate name. Note, however, that CbB does not automatically reload the saved bank file when you re-open the project. The instument assignment will have been save independently in the project, but if you want to load presets from the saved bank to another channel or change the instrument assigned to the current channel using some other preset in your custom bank, you will need to manually Load the saved file into the current session.

Go back to the original 75 BPM project with the synced audio and MIDI. - Set the Now time at 76:01. - Shift+M to bring up Set Measure/Beat At Now, enter measure 101, beat 4, and OK. - CbB will reset the initial tempo to 100.75 without affecting the playback timing of either audio or MIDI. - It will also add a mathing tempo node at 101:04 which you can delete. Alternatively, to have CbB find a possibly more precise average tempo: - Let the project play with the metronome disabled and count bars out to the last downbeat. - Stop the transport , zoom in, and place the Now time precisely on the downbeat transient. - Shift+M, enter that measure, beat 1 and OK. - CbB will calculate the tempo needed to make that measure/beat hit that Now time and change the project tempo .

I made an articulation map for the Kontakt Factory Library "Flute (all)" patch based on the following "style" info and did a quick test: case (24) message ("Staccato 1") set_text ($info,"Staccato 1") case (25) message ("Staccato 2") set_text ($info, "Staccato 2") case (26) message ("Sustain") set_text ($info, "Sustain") case (27) message ("Sforzando") set_text ($info, "Sforzando") case (28) message ("Fortepiano") set_text ($info, "Fortepiano") I found the volume variation with velocity worked pretty much as expected for all articulations. The Staccato, Sforzando and Fortepiano articulations are initially a bit louder due to their emphasized attacks, and indeed, the lowest level you can get at the default MIDI volume of 101 is around -36dB for these articulations vs, about 10 dB lower for the Sustain articulation. -36dB is pretty quiet at normal monitoring levels, but if you need to go lower, you can just lower the instrument's overall level using either MIDI Volume or Expression. For example, lowering the MIDI track Volume to 64 allowed a minimum level for a single Stacatto note of about -50dB and a maxmum of -19dB - a 30dB dynamic range which seems reasonable for a flute.